exhibition view, back to back to back with Márton Nemes and Anselm Reyle, REITER | Berlin 2025
exhibition view, Christian Holze, The most boring artist I know, REITER | Berlin 2024
Christian Holze, 2025, Castor & Pollux & Castor & Pollux, 3-D print, PLA, modelling clay, overpainted inkjet print on canvas on aluminium, varnishing by Veit Schmidleitner (quantum oddity)
Christian Holze, 2024, Farnese Antinoos Capitoline, quartz sand, synthetic resin, 3-D print, 80 x 40 x 30 cm
Christian Holze, 2024, 180° mismatch (Bust of Antinoos S Dionysos), Marble (Portuguese Pink), milled, carved, hand-finished, 60 x 50 x 45 cm.
Christian Holze, Time Sleep (#NNts2401), 2024. Lacquer, acrylic on inkejt print on canvas, 130 x 100 cm
Christian Holze, Antinoos & Antinoos, 2025. Quartz sand, synthetic resin, 3-D print, 30 x 14 x 11 cm. 2 pieces, Edition of 69
Christian Holze »Vase of flowers with pocket watch« 2022. Acrylic and varnish on inkjet print on canvas, back printed aluminum, acrylic glass. 135 x 105 cm
Christian Holze, 2021, 180° mismatch (Bust of Farnese Hercules), Marble (Nero Marquina), milled, carved, hand-finished, 60 cm x 40 cm x 30 cm
Exhibition view Christian Holze »Future Statements - Re-Release« REITER | Berlin 2021
Exhibition view »Future Statements - Capsule« REITER | Berlin 2022
Christian Holze, Nothing New (#NN2504), 2025. Lacquer, acrylic on inkejt print on canvas on aluminium, 81 x 63 cm
Christian Holze exhibition view REITER | Leipzig 2021
Christian Holze, exhibition view »A souvenir from Rome« G2 collection in cooperation with Antikenmuseum Leipzig, 2023
Christian Holze, Time Sleep (#NNts2402), 2024. Lacquer, acrylic on inkejt print on canvas, 130 x 100 cm
Christian Holze, exhibition view »A souvenir from Rome« G2 collection in cooperation with Antikenmuseum Leipzig, 2023
Christian Holze, Untitled (The most boring artist I know, No. 1), 2025. Overpainted inkjet print on canvas, on aluminium printed on the reverse, 130 x 100 cm
Christian Holze, 2024, Farnese Antinoos Capitoline, quartz sand, synthetic resin, 3-D print, 80 x 40 x 30 cm
exhibition view, Christian Holze, The most boring artist I know, REITER | Berlin 2024
Christian Holze, Castor & Pollux & Castor & Pollux, 2025. Quartz sand, synthetic resin, 3-D print, 25 x 20 x 13 cm. Edition of 69
Christian Holze, Laokoon Reverse, Mönchehaus Museum, Goslar 2022.
Christian Holze, Sixfold Artemis & Iphigenia, 2025. Quartz sand, synthetic resin, 3-D print, 120 x 70 x 60 cm
Christian Holze »Mirrored Pietà« (NFT) 2021
Christian Holze, exhibition view »Time Sleep« Mönchehaus Museum, Goslar 2022.
exhibition view, back to back to back with Márton Nemes and Anselm Reyle, REITER | Berlin 2025
Christian Holze, Farnese Bull Reverse, 2022. Quarz sand, epoxy. 60 x 35 x 35 cm.
Christian Holzeinfo
Christian Holze combines different artistic categories into hybrids. His research topics are the interfaces between art, technology and economy. In his work, he not only explores the connections between these three subject areas, but also poses questions about authorship, commodification, and copying in the visual arts. Moreover, Holze's works connect the viewer's art historical memory with the omnipresence of commodity imagery in the digital age, disguising themselves as meta-products.
Christian Holze was born in Naumburg in 1988. He studied fine art at the Academy of Fine Arts Vienna, at the Academy of Visual Arts Leipzig with Prof Joachim Blank and at the Academy of Fine Arts Hamburg with Prof Anselm Reyle. Christian Holze was a master student of Prof Joachim Blank in Leipzig. In 2022 he received the Goslar Kaiserring Scholarship. The artist lives and works in Leipzig.
Christian Holze combines different artistic categories into hybrids. His research topics are the interfaces between art, technology and economy. In his work, he not only explores the connections between these three subject areas, but also poses questions about authorship, commodification, and copying in the visual arts. Moreover, Holze’s works connect the viewer's art historical memory with the omnipresence of commodity imagery in the digital age, disguising themselves as meta-products.
Christian Holzeenquiry
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